[LESS]Selectors' Comments
Charlie Crane's photos have the compositional certainty of Puvis de Chavannes or Morandi: to look at them is to know that not a chair leg or flower could be moved. Crane uses interior space to pry apart floor and ceiling and hold them tightly in place.
Even outdoors, he manages a type of painter's control over composition that seems entirely other than the photographer's framing and far more convincing than 'set-up'. If there's a whiff of Candida Hoffer here, the palette and atmosphere feel far more Asian and 'calendar' than German industrial academic; far more pictorial than documentary.
The overall effect is of a kind of future past – the bright cleanliness of a once-actively occupied space with the emptiness of abandonment.
